Under the direction of Michel Leclerc
(Le Nom des gens, Télé Gaucho),
she becomes Marcia, a bobo Parisian singer who has to deal with the beneficiary of her late idol, a crafty thirty-year-old addicted to variety.
Between two takes of the next François Ozon, and while waiting to find her in a biopic on Simone Veil and a musical by Noémie Lvovsky, the actress returns to this romantic and social comedy on the class struggle, prejudices, life and the integrity of artists.
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Miss Figaro. – What do you like in the world of Michel Leclerc?
Rebecca Marder.
–
His films resemble him: they are committed without giving lessons.
In a society where people are quickly put into boxes, he always manages to see beyond, to listen to his time and to others.
All with a lot of modernity, like when, for example, he says that Marcia can fall in love with a woman and then with a man.
I also like that Michel is not cynical.
Nowadays, it is rare and valuable.
And then the music accompanies his life: it is felt in the way he has to value it.
In video, Tastes and colors, the trailer
Did embodying a singer require a lot of preparation?
As a child and teenager, I was in a choir, and I studied music theory and piano for ten years, even if today I no longer know how to decipher a score.
I also acted in sung shows at the Comédie-Française… To be honest, it was through music that my desire as an actress was born, seeing musicals on Broadway and at the cinema,
Demoiselles de Rochefort
to the films of Fred Astaire or
West Side Story
.
If I hadn't been an actress, I would have wanted to be a singer.
Many actors find the exercise immodest…
It's a total exposure.
But strangely, I almost have the impression of better assuming myself when I sing.
In life, I can sometimes have a timorous voice that I don't like, but sung, I find it more assured.
It's almost liberating.
You play a young artist who is looking for her place. Did it echo your background?
In the film, we meet Marcia at a turning point in her life.
What I too am currently going through: I have just resigned from the Comédie-Française, after seven years in this wonderful troupe that I joined when I was 20 years old.
It's a new start, which implies a new apprenticeship: I started very young in the theater and I was little exposed to the media.
Today, I discover the promotion that can turn into a vanity fair, the management of the image alone while I have always worked in a troupe... To not feel invaded by the extras and to stay anchored, I invest myself in work.
And, unlike the character, I don't have a manager advising me to sell my soul to the devil for business reasons.
I measure my luck to only make films that I like.
I try not to think about fads when I choose a role
Rebecca Marder
And this, without worrying about tastes and colors?
I try not to think about fads when I choose a role.
I follow my instincts and my desires.
And then, who decides what is valid or not?
Who has the monopoly on good taste?
What's trendy one day will be cheesy the next, and vice versa.
We live in a time of zapping where everything is so changing that we must be wary of hasty judgments.
The image has also become so central with social networks that everything can twist very quickly.
This is also what Michel says: the difficulty of being oneself in this society of images.
Transmission is a central theme of the film. Who has counted in your journey?
My French teacher in high school, who, through her love of literature, opened my horizons, and Christine Fersen, whom I saw in
Les Fables de La Fontaine
at the Comédie-Française… I was 8 years old, she told me about the job.
And then, of course, Éric Ruf, who trusted me when he signed up for the Comédie-Française… I also remember the day when Dominique Blanc, whom I barely knew, asked me to go and have a coffee. .
She had noticed that I was in a bad patch, that I doubted a lot, and said to me: "You have an incredible listening, but stop standing like the hunchback of Notre-Dame and playing with your back to the public."
She had read me, took me under her wing and explained to me how much work could drive away doubts.
And then there was Sandrine Kiberlain, of course: absolute love at first sight, a magnificent gesture of generosity from one actress to another.
Tastes and Colors,
by Michel Leclerc, with Rebecca Marder, Félix Moati…
